Get a Literary Agent: The Complete Guide to Securing Representation for Your Work by Chuck Sambuchino Page B
Authors: Chuck Sambuchino
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query is exclusive. This is a risk, so make sure the agent knows what you’re doing, or it’s all a waste of time. When you send the e-query, have the subject line read, “Query Exclusive for [Agent Name]: [BOOK TITLE].” Then repeat in your query letter’s first lines that you are querying this agent exclusively and why. Drive the message home. The hope is that this will stir the agent to action and that she will treat your submission as a top priority for review. Most will read it soon, as they realize that an exclusive query is a rare thing. If the agent does not respond within three to four weeks, it’s time to move on and query others.
DEALING WITH REJECTION
Unfortunately the high that comes when you begin formal submissions might quickly be dampened if rejections start trickling in. The truth is that rejection is a natural and necessary part of the submission process. An agent can’t just like the work or even like it a lot—she has to love love love the book to take it on. Slowly but surely casting a wide net gives you the best chance of generating that bolt of lightning between you and an agent.
“It’s an incredibly subjective business—something which is very important to keep in mind if and when the rejection letters start pouring in. There are a ton of good agents out there, and oftentimes it’s just finding the one who is the best fit.”
—Andrea Somberg (Harvey Klinger, Inc.)
There are different ways agents will reject writers. Like I mentioned, the “silent rejection” is unfortunately becoming more popular. Then there is the “form rejection” pasted into a reply. And finally there is the elusive yet immensely valuable “personalized rejection,” when an agent takes the time to address you and your work in the reply. Because it would take many hours out of each week, agents can only give personal rejections to 1 to 10 percent of all the work they turn down. If you do get a personalized rejection, review that agent’s thoughts and notes closely. You’re essentially getting a free critique. Another reason personalized rejections are interesting is that they are often an unspoken invitation to submit your book again if you implement the agent’s suggested changes (though this is not always the case).
No matter what kind of rejection you receive, nothing good can come from getting angry or defensive. Rather than shooting off a half-baked attack at the agent, your time is much better spent finding a new market to query or determining whether your writing still needs work.
If you do receive some nos, you can take comfort knowing countless writers before you went down this same path before finding success. Kathryn Stockett, author of The Help , claims that sixty agents said no before one fell in love with her novel. The first Harry Potter book was rejected more than ten times. John Grisham’s first novel was turned down forty-five times before someone said yes. The list goes on—so do not lose heart. Successful authors meet rejection with more hard work. As Stockett collected her rejections for The Help , she continued to rewrite and revise the novel to help her chances, and that probably was the reason she found success in the end.
“An agent is looking for a personal connection to a story. The best fit is an agent who loves the story as much as the author does, either because her life experience is similar to that of the storyline or because the story adds dimension to the agent’s understanding of the world, and that will give an agent the incentive to do the hard work necessary to find a manuscript the right home.”
—Karen Grencik (Red Fox Literary)
SUBMISSION CHECKLIST
Most of your correspondence will be electronic, and while there is a tendency to be less formal over e-mail, resist that habit. Address the agent as you would in a paper letter—be formal. Casual elements like sarcasm do not come across well over unsolicited correspondence, simply because an agent cannot
DEALING WITH REJECTION
Unfortunately the high that comes when you begin formal submissions might quickly be dampened if rejections start trickling in. The truth is that rejection is a natural and necessary part of the submission process. An agent can’t just like the work or even like it a lot—she has to love love love the book to take it on. Slowly but surely casting a wide net gives you the best chance of generating that bolt of lightning between you and an agent.
“It’s an incredibly subjective business—something which is very important to keep in mind if and when the rejection letters start pouring in. There are a ton of good agents out there, and oftentimes it’s just finding the one who is the best fit.”
—Andrea Somberg (Harvey Klinger, Inc.)
There are different ways agents will reject writers. Like I mentioned, the “silent rejection” is unfortunately becoming more popular. Then there is the “form rejection” pasted into a reply. And finally there is the elusive yet immensely valuable “personalized rejection,” when an agent takes the time to address you and your work in the reply. Because it would take many hours out of each week, agents can only give personal rejections to 1 to 10 percent of all the work they turn down. If you do get a personalized rejection, review that agent’s thoughts and notes closely. You’re essentially getting a free critique. Another reason personalized rejections are interesting is that they are often an unspoken invitation to submit your book again if you implement the agent’s suggested changes (though this is not always the case).
No matter what kind of rejection you receive, nothing good can come from getting angry or defensive. Rather than shooting off a half-baked attack at the agent, your time is much better spent finding a new market to query or determining whether your writing still needs work.
If you do receive some nos, you can take comfort knowing countless writers before you went down this same path before finding success. Kathryn Stockett, author of The Help , claims that sixty agents said no before one fell in love with her novel. The first Harry Potter book was rejected more than ten times. John Grisham’s first novel was turned down forty-five times before someone said yes. The list goes on—so do not lose heart. Successful authors meet rejection with more hard work. As Stockett collected her rejections for The Help , she continued to rewrite and revise the novel to help her chances, and that probably was the reason she found success in the end.
“An agent is looking for a personal connection to a story. The best fit is an agent who loves the story as much as the author does, either because her life experience is similar to that of the storyline or because the story adds dimension to the agent’s understanding of the world, and that will give an agent the incentive to do the hard work necessary to find a manuscript the right home.”
—Karen Grencik (Red Fox Literary)
SUBMISSION CHECKLIST
Most of your correspondence will be electronic, and while there is a tendency to be less formal over e-mail, resist that habit. Address the agent as you would in a paper letter—be formal. Casual elements like sarcasm do not come across well over unsolicited correspondence, simply because an agent cannot
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